Collectives

A contagion of basses sounds about right. Whoever arrives at the weekly OCI jam session is a matter of conjecture. This week it was 4 (four!) bassists, along with 2xdrums and one each of guitar, trom, vocals. I got one tune - fair enough given some dithering over a beer. On the other hand, it was particularly interesting to hear so many bassists in one outing. The bass sound was not so big and fat this night: more edgy and toppy, sharing an amp with the piano, but fun nonetheless. I played Recordame, and others did various songs with Rachel Thorne (a great local singer) and Stella and Blue bossa and others. The imports were Sam Dobson, ex-Sydney Con playing with Geoff Bull, Cope Street Parade and others: nicely relaxed, easy-going, on top of the charts. Paddy Fitzgerald, student at Monash, nicely intoned thumb positions and good choppy solos, playing with fellow student guitarist Harry Tinney. And the locals: Alec Coulson with a nice take on Blue bossa and me, on Recordame. Moving Paths had turned up, too (including Max, bassist #5) but too early to jam; they left to play Hippo. The band this night was Ben, Hugh and Steve.

The Old Canberra Inn jam session was hosted this week by Ben O'Loghlin (bass), Hugh Barrett (piano) and Steve Richards (drums). Sit-ins included Sam Bolton, Alec Coulson, Paddy Fitzgerald and Eric Pozza (basses), Harry Tinny (guitar), Mark Levers (drums) and Rachel Thorne (vocals).

Goosebumped

Mike Dooley writes seriously good songs and not just out of the American songbook, even if he introduced one as "written in 2012, should have been written in 1942" and a bloke beside me said the music is timeless. They are both right. Mike has imbibed the styles and capability of the era, the changes, the lively grooves, the lyrical melodies, the witty rhyming lyrics. These tunes just sound right, never forced into a straightjacket by an ill-considered chord or uncomfortable line. Even when the words are slightly tortured, the phrasing twisted into a melody, it works, it's humourous, it's clever. But beyond the songbook, Mike's also written the mystical-sounding mid-Eastern Across the Gulf, several heart -on-sleeve sentimentals, Incurable and the immensely gorgeous Soliloquy, the funky Zymergy (the last word in the dictionary, to be the final tune in some future fake book), the latins Symbiosis and Kiss the sunrise, the ever-rising spine-tingling goose-bumping Upward spiral (a killer amongst gun-toters) and the immensely wistful theme (picked up for the local film, Locks of love) Edge of time. I've played these tunes and love them, but they took on a new life as I listened, with a mix of great support musicians: piano, guitar, bass, drums, a horn section for some tunes, a string quartet for others. And Rachel at the heart of it all, who has sung with Mike as the duo, In2Deep, for several years. She's such a good singer, lively, capable, interesting, great voice with long-term experience. And she and Mike make a great vocal pair, sweet harmonies over a satisfying musical conversation. I was not the only one tapping along. One couple danced with the excitement of it all, despite unlikely surroundings. This was a CD launch and Mike was chuffed that even the barman bought a copy. After all, this is not Sia's writing for Rhianon and Beyonce and Katy Perry; the writing may be timeless but not quite so pop-commercial current. But the crooners are still touring and there are winning songs here for more than just their ilk. This is the real deal. Mike, great writing; Rachel, great singing; band, great support.

In2Deep launched their new CD at the Dickson Tradies. In2Deep are Mike Dooley (piano, vocals, compositions) and Rachel Thorne (vocals). They were supported on the night by Camilo Gonz (guitar), Philip Dick (bass), Steve Richards (drums), Dan Bray (tenor, soprano), Rouslan Babajanov (alto, soprano), Mark Du Rieu (trumpet, flugelhorn), Rob Clements (trombone), Timothy Wickham (violin), Anne Horton (violin), Iska Samson (viola), Alex Voorhoeve (cello)

Mike's modern standards

In2Deep performed at Smiths at short notice. I know their tunes perfectly well and I admire their performances and especially Mike's writing. Mike and Rachel are about to release a CD of Mike's songs. They are good. Many are modern instances of the standards repertoire, similar harmonic movements and melodic lines and with that discrete, rhyming wit that was one aspect of that era. Rachel thought aloud about, who, Peggy Lee and Rock Hudson (?), when introducing the romantic swinger, Just for the Heaven of it, and Disney films for another. They ended with their heartrending paen, Edge of time, the theme for the Canberra movie, Locks of Love (I'm told to look out for this on TV on Valentine's Day), reminiscent of the theme of the film Baghdad Cafe, I am calling you, and brimming with its dolefulness. These are both movie themes; perfect. Otherwise, there was the sentimental slow swinger April Rain, and the witty latin Symbiosis, and the Arabic scaled Across the Gulf. And a few actual standards from the books. Mike's writing is memorable and Rachel's interpretations are great. And Alec Coulson sat in for some bottom end for this gig. Nice one.

In2Deep are Rachel Thorne (vocals) and Mike Dooley (piano, vocals, compositions) and they were joined by Alec Coulson (bass) for a gig at Smith's Alternative.

Gary

I blog first gigs with any players and last night's gig with Rachel and the Republicans was one of them. It was the first time I've played with Gary France and he was a blast. Confident and correct, tack sharp and snap loud snare on some grooving funk, luscious and easy swing and some stunning eights and other solo passages. All a bit loud, but this was fun. The Republicans were driving. Rachel floored me with power and delivery and Mike and Rachel with their have developed a neat and witty harmony interplay on a string of tunes. Rach and Mike have been working frequently as the duo, In 2 Deep, as well as having recently recorded an album; it shows. I didn't manage to take all this in, concentrating on my own part, but Richard, too, was intriguing in a string of solos, and neatly inserting fills and comping at other times. As for me, it was double bass all night, big sound and some very satisfying grooves but a few same old same old habits in soloing. This was great fun with some impressive playing on standards but also a string of wonderful tunes from Mike's pen. My thanks to all. It's a pleasure and a privilege to perform with such players.

Rachel and the Republicans were Rachel Thorne (vocals), Mike Dooley (piano, vocals), Richard Manderson (saxes), Gary France (drums) and Eric Pozza (bass).

New films ACT

I must mark the release of two local films - The Competition and Locks of Love - because they are local, but mainly because some mates did the music for them. I'm not a film-goer but I caught one and will keep an eye out for the other.

Firstly, Locks of Love. This is the one I missed. I understand it will appear on TV for Valentine's Day and perhaps other times. It's a compilation of "11 tales by 11 storytellers linked by 1 gate", gathered around that romantic (but destructive and annoying) habit of putting padlocks on bridges to represent eternal love. See local scenery and places and hear musicians including Aron Lyon and Sally Greenaway. Also hear the gloriously poignant theme, Edge of time, in the film's trailer sung by Rachel Thorne and composed and accompanied by Mike Dooley. Mike and Rachel had to turn down a gig to attend the red carpet launch a few weeks back. Very cool. And congrats to Sally Greenaway as Musical Director for another labour of love.

Secondly, The Competition. This one I saw. It's described as "a warm-hearted story about following dreams" and it's true. It's gentle and touching and has an earthy truth about it. Nice. It's also been accepted for Cannes and Berlin Film Festivals so has some recognition. Steffie Waters is a singer living in the musically-endowed country town, Orgella Creek. Two ageing judges come to town and Steffie has to decide her future. Greg Stott is musical director and has several feature tunes and appears occasionally. As do a series of others that I recognise (James Luke, John Mackey, Dan McLean...) and quite a few Indie types that I recognise only by name. How's this as a feature list of the local indie scene: Dubba Rukki, Julia & The Deep Sea Sirens, Fire On The Hill, Casual Projects, Fuelers, Steve & Ray Amosa, Chanel Cole, Owen Campbell. Not great or deep, annoying for one period of hand-held camera, entrancing for a view of talented locals, challenging to determine the location (Gunning?), cute and nicely done and heartwarming but not totally syrupy. Just drop me off at the Sydney Con, because entry seems surprisingly easy.

Congrats to the teams who made the films, to the various musical performers, directors, composers and the rest, and to the ACT Government for ScreenACT which supports this current flourishing of local film.

Edge of time / Rachel Thorne, Mike Dooley - Listen & buy 99c

Locks of love website

The Competition website

Always a pleasure

In2Deep meets Jazz Republic, or at least a mix of musos under a few band names. Mike and Rachel perform as a duo under the name In2Deep and here's a pic. They called the band in for this night to celebrate end-of-year / Christmas. Noddy sat in for Brenton. Good family fun and some nice relaxed playing, even if James Brown always challenges on double bass. Thanks to all.

There’s listening and awareness

You hear differently when you’re playing, compared to when you are listening. It occurred to me at our gig yesterday. Jazz Republic was playing with Rachel Thorne. I’ve recently met Jean-Luc Bodson, a newly arrived bassist in Canberra. He’d come for the wines and roses and he took my bass for a run on a transposed Autumn Leaves. When I play, I am aware of the others, the singer, the soloists, less obviously but more constantly of the drummer. But sitting back, I was hearing the bass as others hear it, louder, strong but middy, and noticing details in the singing and listening with care to Richard’s solo. I realised that Richard, sax player, listens like this often: horns get the chance between solos. Rhythm section players tend to play constantly, so there isn’t this same conscious awareness. What to learn from this? First to keep watching to strengthen awareness of the others, but that’s commonly said. The other is just how different is the listening when you’re not playing. Late, perhaps, but a revelation.

Otherwise, this was a great little gig. I was stunned to hear Ella at one stage, and Rachel scats often and easily, but she does more. Such a nice singer. Jean-Luc hadn't played for while (his basses are in transit) and on a new bass but he had some intriguing lines with a nice touch and he impressed me by warming up with some bop heads. Rhys sat in. It was his first gig of three for the day and a good warmup. He was nicely solid and professional and steady to play with. This is what training does for you and I’ve been working on just this: better chord definitions and steadier, more determined grooves. Mike and Richard were their normal impressive selves. My hands were benefiting from recent work on Bach sonatas and iGigBook and iRealb took care of singer transpositions. The flies outnumbered the audience, but we had a blast. Much enjoyed.

Rachel Thorne (vocals) sang with Jazz Republic for the Wine, Roses and all that Jazz festival. JR were Richard Manderson (saxes), Mike Dooley (piano), Rhys Lintern (durms, sitting in for Brenton) and Eric Pozza (bass). Jean-Luc Bodson (bass) sat in for one tune.

Show going on

Gossips was booked but Leanne had the lurgie, so it was Jazz Republic with a guest singer, Rachel Thorne, instead. I've heard Rachel around and admired her singing for some time. It's always nice to play with capable new musos. She was good: singing, scat, and a nice take on mixing lines from one song in with another. The songs were mostly old standards. L-O-V-E is a ridiculously cute thing that I’d wanted to play for some time, complete with chromatic key changes. Otherwise Perhaps3, So nice to come home to, Come fly with me, Lullaby of Birdland. Nice standards and well received. We also played several original tunes. Mike debuted three songs: two witty love songs, a swing and a boogie, and one heart-on-the-shoulder ballad. My Sambala got an airing. I was playing solidly so enjoyed the outing and caught some clever solos and fills from Richard. My thing these days is setting the essence of tune, and letting the flourishes and fancy stuff come of their own accord. Slow learner, perhaps, but finally learnt. This was a nice, easy gig for a pleasant audience and I enjoyed it lots. Thanks to Rachel. Rachel Thorne (vocals) sang with Jazz Republic at Bite to Eat. The Republicans are Mike Dooley (piano, vocals), Richard Manderson (saxes), Eric Pozza (bass) and Brenton Holmes (drums).

Friday night on the town

Megan and I got out for a few (just two) drinks and to catch some mates playing around town: a nice end of week outing. First was the Hyatt to sit in the garden for a touch of turntablism with trumpet/flugelhorn accompaniment.
Jonty Hall plays with trackster (am I anywhere near the language?) “Jungle” Jerry Francis as Stereotype in the Möet bar. Möet it was for Megan (pleasant but you can guess one reason why only one drink). But the ambience was relaxed and the shadows of a setting sun were superb. We liked the music, too. Mainly house dance music, minimalist, clean and some R&B female vocals and occasional solos or accompaniment by Jonty that I heard as shades of ‘80s Miles. And some remixed Simon & Garfunkel. Given the music, this was an unexpectedly mature audience, at least this night.

Maybe they were at Mint. The basement was open as a one-off venue and it was filled with 20/30 somethings. Now, this a strange venue and the sound was pretty, well, industrial, with bare cement and low ceilings. But this was fun, with UV lighting and yellow vests handed out at the door (staff wore red) and reasonable prices on drinks. The band was as good as they come for such a corporate gig around this town: Rachel Thorne, Greg Stott, Mike Dooley, James Luke, Dan McLean, Dan Bray and Mark Sutton appearing as In too deep. Two sets: first jazz; second pop/funk with James switching to e-bass. Triste, Autumn leaves then Midnight hour, Superstition, Cissy strut (?) and a devilishly arranged take on the Beatles’ Money. And it only turned out that Gossips singer Leanne Dempsey was involved in organising the gig, so here’s a pic with Rachel.

It was an early night but a bit of dry fun. Nice way to relax at the end of a week’s work. Stereotype were Jonty Hall (trumpet/flugelhorn) and Jerry Francis (turntables). In too deep were Rachel Thorne (vocals), Dan McLean (trumpet/flugelhorn), Dan Bray (tenor), Greg Stott (guitar), James Luke (acoustic, electric bass), Mark Sutton (drums) and Mike Dooley (keys).

Two for tea

Their names appear pretty frequently around the traps, so I made the trek to the other side of town to hear Rachel Thorne and Lucy Bermingham at Adore Tea. Both of them have strong professional backgrounds, including in Army bands, so you can expect professional competence which is a high accolade in my book. I’d heard Rachel years back and was much impressed and I remember the gig well. I’d missed Lucy performing an Eva Cassidy tribute at Vivaldi’s but I caught her as a singer at Llewellyn Hall. This day she was on piano.

The tunes were the old standards so nothing particularly new there, but the accompaniment was sturdy and eminently reliable, and the vocals were capable and inventive. The first tune on my arrival was Nature boy. How can you not fall for that tune? Then into a string of cycles and melodies that define this era of popular music: I’ve got you under my skin, Our love is here to stay, Autumn leaves. I even enjoyed that 50s-kitsch Danke schön. It’s not a song I love, but I enjoyed this rendition with seductive glissandi leaning in to the notes that started each phrase. I’d already taken note of various jazz vocal conventions that Rachel had performed with admirable ease: playing with time by anticipating and delaying lines of melody, various chromatic movements and some harmonic alterations. All done as understated melodic inventions. Lovely stuff. She sang scat, too, which is of this tradition. Then on through light swingers and latins like Fools rush in and Fly me to the moon and Sway, and more depth with God bless the child. It was admirable singing and I enjoyed it immensely. But I’m being unfair on Lucy, because her role was essential to support Rachel’s front line. Her eyes were obviously following the charts closely but this was well improvised: a solid and reliable accompaniment with no hesitation that I noticed. Left hand bass, relaxed swings, understated solos, frequent changes of feels and grooves and moods all featured. It was a relaxed little gig for a Sunday afternoon audience, but there were real skills and alluring interpretations. Very nice.

Rachel Thorne (vocals) and Lucy Bermingham (piano) played at Adore Tea for its free Sunday afternoon jazz sessions.

Not yet arboreal

What can you say about the Arboretum? It will be wonderful in 20 years, providing we have enough water in this post-climate-change world to keep the trees alive. I can only hope we do, but fear otherwise. But despite the bare grounds and infrequent plantings, it was a good afternoon with bands on the Open Day. Windy, mainly due to a lack of tree breaks. (But now I am being naughty!). The Lethals were playing as I arrived: Leigh “Lethal” Miller (bass) with Hugh Deacon (drums) and Matt Lustri (guitar). It sounded boomy from a distance, but it stopped by the time I got anywhere near the stage, so nothing to report.

But I was there for Katie Noonan, famed classically trained singer, and front person for george and Paul Grabowski and now a Beatles cover album. Highly trained, able to sing from the highest balcony. This was Katie and she did not disappoint. She was basically singing pop for this incarnation: grooves, a few repeated chords without complex extensions, straight drums holding it together. But the voice was magical in its quality and expressiveness and range; the grooves were strong and of complexity; the guitar was effected and echoed and often clangingly dissonant with chordal solos that decried jazz lines; Stu Hunter’s keyboard bass lines were richly polyrhythmic and almost uncountable at times. Yeah, it was pop, but at such a level of sophistication that I was embraced. This lithe voice (she joked of Kate Bush fantasies) that pirouetted over the often unreadable and always dramatic understory, with lyrics of love and loss and the profundities of the personal. There were tunes from george, and tunes from a new album they are preparing. All originals; all with lust for life and a parallel despair. Apparently Katie is a greenie, recently moving to the bush with her family. More prosaically, Stu is Weston boy, and the band had eaten breakfast locally with Mum and Dad that morning. This was essentially pop, but done with some purpose and profundity that it was a work of art. Lovely, touching music. Perhaps too much boofy bass and volume, but what can you expect of a hired PA?

Katie Noonan (vocals, keyboards) played with Stu Hunter (keyboards, keyboard bass), Captain Cameron Dale (guitar) and Declan Kelly (drums) appearing as the Captains.

I just caught a few tunes from Blamey Street Big Band before I left. This is a local outfit led by Ian McLean. They play the mainstream repertoire of BB tunes: All of me, Boogie woogie bugle boy, Do you know what it means to miss New Orleans, and the like. Rachel Thorne was out front for the tunes I heard, and she was strong and capable. The band itself warmed to the task, and was playing straight but pretty reliably as I left. They are a common sight around town: CSCC, festivals, other gigs. Catch them for a mainstream hoot. A big, traditional big band in the style of Glen Miller and Basie and Ellington. Hard to maintain, but a great local resource.

The Blamey Street Big Band was led by Ian McLean with Rachel Thorne on vocals.